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Brigid Berlin: Polaroids

Brigid Berlin (born 1939) was one of the most prominent and colorful members of Andy Warhol’s Factory in the 1960s and 1970s. Her legendary personal collection of Polaroids is collected here for the first time and constitutes an intimate, beautiful, artistic, outrageous insight into this iconic period. This wild photographic odyssey featured a foreword by cult filmmaker John Waters, who writes, “Brigid was always my favorite underground movie star; big, often naked, and ornery as hell ... The Polaroids here show just how wide Brigid’s world was; her access was amazing. She was never a groupie, always an insider.” Berlin knew everyone and her lens captured them all: celebrities, Superstars, artists, herself and, of course, Warhol. As Waters observes, through her snaps, “Andy was uncovered and revealed like never before.” The book also features an introduction by Bob Colacello, editor of Warhol’s Interview magazine and features writer for Vanity Fair, who notes: “In recording life, she captured our times. By myopically depicting her own transgressions and self- indulgences, she has prophetically reflected the narcissism and exhibitionism, the craving for fame and confusing of fame and infamy that have become the staples of American popular culture.” In discussing her style, he reflects, “This is the opposite of fashion photography or studio portraiture. Brigid was a realist. What she saw is what you got.”

Featured image is a self-portrait from 'Brigid Berlin: Polaroids.'

PRAISE AND REVIEWS

New York Magazine, The Cut

Anna Furman

The filmmaker John Waters once described the artist Brigid Berlin as a "lady who really lunched but also loved being nude." He called her a "hostile debutante" - her mother was a New York socialite; her father was president of Hearst for 30 years. She was Andy Warhol's best friend, a fixture at his Factory, and an obsessive recorder of her surroundings.

Artnet

Kevin Umana

Now in the age of Snapchat and selfie sticks, I can see why photographers look up to Berlin’s raw power. Although she never saw herself as an artist, she certainly played the role of one.

CORY REYNOLDS | DATE 7/18/2016

Brigid Berlin, pictured here with Dennis Hopper, was Andy Warhol’s best friend, John Waters writes in his introduction to Reel Art Press' exceptional collection of Berlin's Polaroids. "Together they called themselves Mr. and Mrs. Pork. When Andy sometimes claimed he was 'married to his tape recorder' Brigid must have felt like his mistress. Halston referred to Andy as a 'coal miner’s daughter' and Warhol could never escape his blue-collar roots just as Brigid could never relinquish her rich girl pedigree. In many ways Andy wanted to be Brigid; old money combined with danger. He trusted her. She didn’t want his money, she had her family’s. And God knows, Brigid was loyal to Andy even after his death. The only Warhol star to never posthumously dish him in the press, attempt to claim credit for his work, or show any regret over being labeled a 'superstar.' Brigid is to Andy what Squeaky Fromme is to Manson—the last loyal and ferocious member, yet a survivor." Featured here are Dennis Hopper and Brigid Berlin. More on Reel Art Press here. continue to blog

Published by Reel Art Press.Edited by Vincent Fremont, Dagon James, Anastasia Rygle. Introduction by Bob Colacello. Foreword by John Waters.

Brigid Berlin (born 1939) was one of the most prominent and colorful members of Andy Warhol’s Factory in the 1960s and 1970s. Her legendary personal collection of Polaroids is collected here for the first time and constitutes an intimate, beautiful, artistic, outrageous insight into this iconic period. This wild photographic odyssey featured a foreword by cult filmmaker John Waters, who writes, “Brigid was always my favorite underground movie star; big, often naked, and ornery as hell ... The Polaroids here show just how wide Brigid’s world was; her access was amazing. She was never a groupie, always an insider.” Berlin knew everyone and her lens captured them all: celebrities, Superstars, artists, herself and, of course, Warhol. As Waters observes, through her snaps, “Andy was uncovered and revealed like never before.” The book also features an introduction by Bob Colacello, editor of Warhol’s Interview magazine and features writer for Vanity Fair, who notes: “In recording life, she captured our times. By myopically depicting her own transgressions and self- indulgences, she has prophetically reflected the narcissism and exhibitionism, the craving for fame and confusing of fame and infamy that have become the staples of American popular culture.” In discussing her style, he reflects, “This is the opposite of fashion photography or studio portraiture. Brigid was a realist. What she saw is what you got.”